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English to French: Rédactionnel : présentation de l'exposition de Berverly Pepper

Source text - English The works I made of highly polished stainless steel in the latter 1960s achieved this kind of dualism primarily through the mirror-like finish of their surfaces. Those surfaces acted to emphasize the actual density and weight of the steel, and at the same time they made the physical bulk of the sculpture withdraw behind a smoke-screen of reflections. Under certain light conditions and from certain angles this reflectivity picks up the sculpture’s environment...and this causes the work almost to disappear; so that all remains visible is the network of blue enamel that indicates the interior faces of the forms. From other angles the surfaces reflect into one another, causing geometrics to appear which are not part of the physical format of the work.
Beverly Pepper
Art Journal
XXV(Winter 1975)

Sculpture had staked its own identity on the difference between the representation it lifted above the ground and the pedestal tying that image to its site. This difference was between the vertical and the horizontal. Sculptor that she had become, Pepper nonetheless collapsed her work onto the waiting ground (as in Trevignano, 1970), as though the entire work were nothing but spreading pedestal. These domino-like assemblies, though horizontal, are surprisingly representational—imaging the earth itself—its reach, its subterranean darkness, and the way its surface mounds in diagonal ripples like mammoth serpents moving over unseen protuberances in the earth.
Willing to collapse the verticality of most monuments into the horizontality of Trevignano, Pepper was also open to blurring the fundamental separation of sculpture from painting. To this end she began to work with stainless steel polished to a mirror-like shine. She fashioned the gleaming metal into open frames, their interior surfaces faced with dark blue enamel. The shine declared the three-dimensionality of the works, their volume, their presence. But at the same time, their mirrors caught and reflected the landscape around them, transforming the real surrounds into virtual picture, like a painted image. Lago I, 1970 is a paradoxical horizontal as it reflects the ground around it and the azure pendentive above.
The strictness of Pepper’s dedication to abstraction…is caught in the stainless mirrors where the gleaming frames seem to be pulling apart from one another, opening the overall volume of the work ever farther, to accept more and more impurities into the sculptural center of art.
Rosalind Krauss
Beverly Pepper, Voyages Out
Marlborough Chelsea, NYC
September 12 - October 11, 2008

The tectonic quality of her sculpture can be sensed in the proud assertion of feeling that permeates the work – a heroic bearing in abstract form. There is a yearning for the monumental, the large statement, which has its logical culmination in a scale approximating our architectural environment…
…A couple of observations can be made about Beverly Pepper’s approach to form. Her volumes are empty; the idea of mass is contradicted by an emphasis on precarious engineering (outward projections and cantilevering) which belies the observance of structural realities such as gravity and stress. With the static forms the sculptor creates a dynamic arrangement’ she presents the viewer an aggregate or cluster of box-like units that are hinged or linked, stacked or sliding – always suggesting change and permutation. The base for these sculptures is either a box element, integral to the composition, or a simple steel plate. Although the work is non-representational, its associations vary from chain-belt to bridge segments, from caterpillar to accordian.
While surface and structure exist simultaneously in Beverly Pepper’s sculptures, the surface makes the structure seem immaterial – an illusion rather than a reality. The mirror polish creates a trompe l’oeil effect which operates in two distinctly different ways. Most obviously, individual components appear extended or multiplied through reflection. Perhaps even more compelling, the endpieces of any given form sequence are subject to a mirage in reverse. Under certain light conditions, since so much of the environment is reflected, they seem to cancel themselves out of context of the total sculpture. The mirror polish belies what we know about steel and makes a heavy and assertive material look weightless and self-effacing to the point of disappearance…
Jan van der Marck
Beverly Pepper, Recent Sculpture
Marlborough Gallery
February 1-22, 1969

Source text - EnglishDefinitions
•FEEDWater input, salt water
•CONCENTRATE/REJECTWaste water
•PERMEATEDesalinated water, pure water
•SALT REJECTIONDescription of the amount of salt that does not go through the membrane in percentage R=1-C/C
PermeatFeed
•FLUXPermeatthroughput related to the membrane area [l/m2h]
•OSMOTIC PRESSURESum of the concentrations multiplied with the temperature and the gas
contante[Deltaπ]
•BIOCIDEChemical used to conservate the membrane if it will be stored for a longer time period
•SEMIPERMEABLEsemipermeable
•PPMParts per million=mg/l

New developments are occurring, such as some patent applicants submitting extremely long applications with a totally unreasonable list of demands - sometimes over 100 - and a rising tendency to submit divisional patent applications (containing matter from previously files applications), said Denis Dambois of the Trade Directorate of the European Commission . There are no sanctions on the regulatory level but this creates legal insecurity for companies wishing to ensure their activities do not involve third party rights.
Technology transfer from developed countries to some emerging economies such as China or Mexico can present a risk for European Union patent holders, Dambois said, as some EU companies are forced to give access to their technology and know-how in the process of a commercial contract or a public market contract beyond the normal frame of the usual commercial relationship.
In addition, a recent decision of the Chinese Supreme Court might influence the legislation on standards, he said. The decision implied that if a company accepts the inclusion of its technology in a Chinese standard, the company will not be able to take legal action against people using its technology. The company might claim financial compensation but this would be much lower than royalties. Participating in a Chinese standard might put EU companies' IP at risk, he said.

New Tools for Patent Management

There is an inflation of patents in the world, said Frederic Caillaud, technology transfer manager for l'Oreal. He and others are predicting a "big bang of IP" by 2010, when the first patent stock exchange will open its doors in Chicago. "This will change the face of IP," he said.
New tools are becoming available that will change the way patents are obtained and used. Web marketplaces, auctions, patent aggregation, patent mapping, patent rating and patent stock exchange are among the new trends, he said. Investment funds are buying IP - 5000 patents were bought last year, patent aggregation is trendy and lucrative for newcomers due to the emergence of computerised tools, he said.
The main issue for developing countries is the lack of IP knowledge, said Charles Molinier from the African Intellectual Property Organization (OAPI). Results from university or research institutes remain unpatented. It is the intention of OAPI to promote IP knowledge by training academics, researchers and lawyers as it is essential that they obtain solid rights, that countries attract direct foreign investment and achieve an efficient application of law. OAPI hopes to develop partnerships with other IP offices.